
LIFE ETERNAL
No one is really innocent in Life eternal. And even if past faults come to the surface, we gradually discover that those whom we initially considered to be completely negative, also have a tender and friendly nature after all.
No one is really innocent in Life eternal. And even if past faults come to the surface, we gradually discover that those whom we initially considered to be completely negative, also have a tender and friendly nature after all.
In Falling, Barbara Albert, in staging a strong nostalgia for the past, together with the desire to find oneself and one’s affections, skilfully avoids excessive emotionalism, showing a necessary detachment and a mature rationality in observing the five protagonists closely. Detachment and rationality that, in this case, manage to make us gradually get more and more connected with each individual character.
There is not a moment during the screening of Stroke of Luck in which the audience can really catch its breath. Everything unfolds very quickly and the protagonist’s situation – which, at first, seemed so idyllic as to seem somewhat artificial – inevitably takes a turn for the worse, with corpses to be hidden and welcome noir atmospheres contrasting with the evocative and contemplative views of Vienna.